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Mozart: Così fan tutte

Mozart’s original thoughts recreated and recorded for the first time.

Héloise Mas (Dorabella), Alexander Sprague (Ferrando), Biagio Pizzuti (Guglielmo), Hamida Kristoffersen (Despina) & Francesco Vultaggio (Don Alfonso)

European Opera Centre & Royal Liverpool Philharmonic Orchestra, Laurent Pillot

The young singers acquit themselves well. Nazan Fikret projects bell-like vocal clarity in ‘Come scoglio’, Héloïse Mas is commendably secure in ‘Smanie implacabili’, and Alexander Sprague performs... — BBC Music Magazine, March 2019, 3 out of 5 stars More…

Release Date: 23rd Nov 2018
Catalogue No: RCD1026
Label: Rubicon
Length: 2 hours 27 minutes

Usually despatched in 4 - 5 working days

Mozart: Cosi fan tutte, K. 588, Act, 1

Work length1:24:35

$29.20

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Héloïse Mas (soloist), Francesco Vultaggio (soloist), Nazan Fikret (soloist), Biagio Pizzuti (soloist), Hamida Kristoffersen (soloist), Alexander Sprague (soloist)
European Opera Centre, Royal Liverpool Philharmonic Orchestra
Laurent Pillot

Overture

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Terzetto "La mia Fiordiligi" (Ferrando, Guglielmo, Don Alfonso)

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Recit "Fuor la spada" (Guglielmo, Don Alfonso, Ferrando)

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Terzetto "È la fede delle femmine" (Don Alfonso, Ferrando, Guglielmo) - Recit "Scioccherie di poeti!" (Ferrando, Guglielmo, Don Alfonso)

Track length2:35

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Terzetto "Una bella serenata" (Ferrando, Guglielmo, Don Alfonso)

Track length2:23

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Duetto "Ah, guarda, sorella" (Fiordiligi, Dorabella)

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Recit "Mi par, che stamattina volentieri farei la pazzarella" (Fiordiligi, Dorabella) - Aria "Vorrei dir, e cor non ho" (Don Alfonso) - Recit "Stelle! Per carità" (Fiordiligi, Don Alfonso, Dorabella)

Track length2:59

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Quintetto "Sento, o Dio" (Guglielmo, Ferrando, Don Alfonso, Fiordiligi, Dorabella)

Track length4:21

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Recit "Quintetto Non v'è più tempo, amici...Di scrivermi ogni giorno" (Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo)

Track length2:18

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Recit "Son partiti" (Don Alfonso, Fiordiligi, Dorabella)

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Terzettino "Soave sia il vento" (Fiordiligi, Dorabella, Don Alfonso)

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Recit "Non son cattivo comico...Nel mare solca" (Don Alfonso)

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Recit "Che vita maledetta" (Despina, Fiordiligi, Dorabella)

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Aria "Smanie implacabili" (Dorabella)

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Recit "Signora Dorabella" (Despina, Dorabella, Fiordiligi)

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Aria "In uomini, in soldati"(Despina)

Track length2:40

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Recit "Despinetta!" (Don Alfonso, Despina)

Track length1:34

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Sestetto "Alla bella Despinetta" (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella)

Track length4:34

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Recit "Che sussurro! Che strepito!" (Don Alfonso, Dorabella, Fiordiligi, Ferrando, Guglielmo, Despina)

Track length3:41

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Aria "Come scoglio" (Fiordiligi)

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Recit "Ah, non partite!" (Ferrando, Guglielmo, Don Alfonso, Dorabella, Fiordiligi)

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Aria "Rivolgete a me lo sguardo" (Guglielmo)

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Terzetto "E voi ridete?" (Don Alfonso, Ferrando, Guglielmo)

Track length0:56

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Recit "Si può sapere un poco la cagion di quel riso?" (Don Alfonso, Guglielmo, Ferrando)

Track length0:56

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Aria "Un'aura amorosa" (Ferrando)

Track length4:26

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Finale "Ah, che tutta in un momento" (Fiordiligi, Dorabella, Ferrando, Guglielmo, Don Alfonso)

Track length8:21

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Finale "Eccovi il medico" (Don Alfonso, Ferrando, Guglielmo, Despina, Fiordiligi, Dorabella)

Track length3:09

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Finale "Dove son?" (Ferrando, Guglielmo, Don Alfonso, Despina, Fiordiligi, Dorabella)

Track length2:34

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Finale "Dammi un bacio" (Ferrando, Guglielmo, Despina, Don Alfonso, Fiordiligi, Dorabella)

Track length2:38

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Mozart: Cosi fan tutte, K. 588, Act 2

Work length1:02:59

$18.60

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$27.00

Héloïse Mas (soloist), Nazan Fikret (soloist), Francesco Vultaggio (soloist), Hamida Kristoffersen (soloist), Biagio Pizzuti (soloist), Alexander Sprague (soloist)
Royal Liverpool Philharmonic Orchestra, European Opera Centre
Laurent Pillot

Recit "Andate là" (Despina, Fiordiligi, Dorabella)

Track length2:54

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Duetto "Prenderò quel brunettino" (Dorabella, Fiordiligi)

Track length3:10

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Recit "Cos'è tal mascherata?"- Quartetto "La mano a me date" (Fiordiligi, Dorabella, Despina, Ferrando, Guglielmo, Don Alfonso) - Recit "Quello che è stato" (Despina, Don Alfonso)

Track length3:35

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Recit "Oh che bella giornata!" (Fiordiligi, Ferrando, Dorabella, Guglielmo)

Track length3:17

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Duetto "Il core vi dono" (Guglielmo, Dorabella)

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Recit "Ah poveretto me!" (Guglielmo, Don Alfonso)

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Aria "Donne mie, la fate a tanti" (Don Alfonso)

Track length3:10

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Recit "Barbara! Perchè fuggi?" (Ferrando, Fiordiligi)

Track length1:40

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Recit "Ei parte… senti…" (Fiordiligi)

Track length1:39

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Rondo "Per pietà, ben mio, perdona" (Fiordiligi)

Track length7:08

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Recit "Ma ecco Fiordiligi" (Despina, Fiordiligi, Dorabella)

Track length2:49

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Duetto "Fra gli amplessi" (Fiordiligi, Ferrando)

Track length6:04

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Recit "Ah, cessa, cessa di tormentarmi" (Guglielmo, Don Alfonso, Ferrando)

Track length1:23

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Andante "Tutti accusan le donne" (Don Alfonso, Ferrando, Guglielmo)

Track length1:00

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Recit "Vittoria padroncini!" (Despina, Ferrando, Guglielmo, Don Alfonso)

Track length0:35

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Finale "Fate presto, o cari amici" (Despina, Don Alfonso)

Track length1:41

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Finale "Come par che qui prometta tutto gioia e tutto amore" (Fiordiligi, Dorabella, Ferrando, Guglielmo, Don Alfonso, Despina)

Track length7:22

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Finale "Sani e salvi, agli amplessi amorosi" (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, Dorabella, Despina)

Track length9:55

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A Cosi with a difference: studies of the composer’s manuscript by Ian Woodfield reveal that Mozart was undecided whether to ‘cross’ the lovers or keep them uncrossed. Key passages are altered often to startling effect – Ferrando opens the opera singing ‘La mia Fiordiligi’ and not the usual ‘la mia Dorabella’. Phrases such as ‘Rivolgete a lui lo sguardo’ (Turn your gaze upon him) appear in Mozart’s own catalogue as ‘Rivolgete a me’ (Turn you gaze to me) , and although ‘lui’ is in another hand, Mozart had left blank spaces to be filled in later – an indication of his indecision about the pairings. This brilliant aria, cut from the final version is restored in this performance. With the reinstatement of the brilliant ‘Rivolgete’, Guglielmo is in a position to cede his large Act II aria ‘Donne mie’ to Don Alfonso who, unusually for a major character in an opera buffa, has no true aria, his tiny arioso in Act I (‘Vorrei dir’) being little more than a comic caricature. With no opportunity to reveal himself in an extended musical statement, he remains an aloof figure, a philosopher, a puppet master controlling the experiment. Although ‘Donne mie’ presents a misogynist ‘overview’ of the behaviour of women, its performer at least claims to like them. In that sense, ‘my ladies’ receive a slightly ironical and patronising defence in the manner adopted by this character in his summation of the outcome of the experiment in ‘Tutti accusan le donne’. As sung by Guglielmo, however, ‘Donne mie’ can only be taken as a generic aside, since it expresses a view of women diametrically opposed to the one he is advocating so robustly in the main drama.

In the climactic duet between Ferrando and Fiordiligi, indecision is again to be seen precisely in the use of pronouns. It makes a big difference to Ferrando whether he is attempting to seduce his own lover or Guglielmo’s. As he sees Fiordiligi about to waver, he is suddenly unsure as to how he should react; Fiordiligi recognises that her constancy is under threat, but in the balancing phrase, Mozart could not decide whether Ferrando should refer to her constancy (‘la sua costanza’) my constancy (‘la mia costanza’) or even your constancy (‘la tua costanza’). There are multiple crossings out. At the end of ‘Come scoglio’ when everyone on-stage is reeling from the ferocity of Fiordiligi’s dismissal of the men, one of them has to take the lead in attempting to detain her. As the two men are still working as a pair, it was perhaps thought not to matter much, but if it did, then clearly the man setting himself up as Fiordiligi’s future partner should be the one to address her. Mozart had a double change of mind at the start of the ensuing recitative ‘Ah non partite!’ (Ah, do not leave!), setting these words first for Ferrando, then for Guglielmo and then for Ferrando again. Obviously the choice did have some significance.

Reviews

March 2019

The young singers acquit themselves well. Nazan Fikret projects bell-like vocal clarity in ‘Come scoglio’, Héloïse Mas is commendably secure in ‘Smanie implacabili’, and Alexander Sprague performs with buffa-esque panache throughout…Like the plot of Cosí, this new version is an interesting ‘experiment’, but as with the original there are unsettling results.

February 2019

Pillot conducts with superb energy and grace, and there’s some elegant playing from the Royal Liverpool Philharmonic, whose woodwind sound [is] particularly lovely here. The student ensemble cast is similarly strong…best of all, perhaps, is Biagio Pizzuti’s Guglielmo, his voice warm and mature, his characterisation wonderfully subtle: he’s as good as, if not better than, many big-name singers who have recorded the role…Anyone who cares about Cosí should hear this.

June 2019

Generally this is an accomplished, musically sensitive performance given by a young cast containing some potential future stars, all of them possessing voices of some quality.

Classical Music February 2019

Recorded live at 2014 performances by the European Opera Centre, it offers accomplished and youthful performances from its cast, and enjoyably propulsive conducting from Laurent Pillot.

Mozart: Così fan tutte

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